Tuesday, 28 March 2017

15 Second Review: The Dark Tapes

The Dark Tapes is
a horror anthology film, and as with any compendium, the segments that comprise
the whole are somewhat hit-and-miss. “The Hunters and the Hunted” is the most
complete story, and certainly boasts some of the best performances; “Amanda’s
Revenge” has a neat structure that initially misdirects the viewer in a highly
effective way; “Cam Girls” is the weakest section, featuring some unconvincing acting
and the least satisfying plot overall. Nevertheless, each section is efficient,
which will surely please viewers who are bored by the protracted establishing
sequences that bog down so many full-length found-footage movies. The Dark Tapes has been edited with
care, giving enough information to guide the viewer, but refraining from bloating
the script with needless exposition. My main problem with the film is that the
stories include various plot holes and logical inconsistencies (which I cannot
explain here without spoiling each segment), which detracts from the realism
that found-footage relies upon. Still, the film is ambitious, and although the
wrap-around story does not connect the others together in a literal fashion, it
does offer a set of conceptual, thematic links that are intriguing. The opening
declaration that ‘humanity is getting closer to the truth’ frames the film’s
events as if they are genuine, or at least as if the footage reveals some kind
of authenticity. Yet, the film also wears its artifice on its sleeve, flagging
that its apparent veracity is entirely fabricated. In that sense, it could be
argued that the logical inconsistencies buried within the individual stories enhance
the film’s dualistic approach to found-footage. On one hand, The Dark Tapes typifies the
found-footage subgenre, replicating the visual tropes – such as ‘digital
glitches’ – that have become synonymous with such movies (even though these
glitches are unrealistic, inasmuch as they are incredibly rare outside of the subgenre).
The film also recalls established found-footage touchstones, including overt
nods to V/H/S (in terms of its
multiple story structure), and echoing Paranormal
Activity in the segment “The Hunters and the Hunted”. However, not only is
that parallel to Paranormal Activity undercut
in the story itself (I will not say any more so as not to spoil), but it is
notable that the makers of The Dark Tapes
are just as comfortable citing other horror influences, including Poltergeist (in the “The Hunters and the
Hunted”), and even A Nightmare on Elm Street
(in the segment “Amanda’s Revenge” via the refrain ‘Don’t fall asleep’). These
references root the movie in a broader canon of horror history that extends
beyond the recent trend for found-footage indie-flicks. In sum, although The Dark Tapes has its flaws, it is an
intriguing film that seeks to rise above the crowd, and I would much rather
watch an imperfect movie that attempts to do something interesting than a
technically exquisite but banal one.